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BF 859 
.B45 
Copy 1 



LIBRARY OF CONGRESS 




021 064 109 9 % 



I .B45 
Copy 1 

How to Re&.d 
Ch&.r&.cter 

With 

(Raraderfraft 



How to Redwd 
Ch^r^ct er 

With 




By 

Dr. Katherine M. H. Blackford, M. D. 

H 

Author of "Character Analysis 
by the Observational Method," 
"Beading Character at Sight," 
and"TheJob, The Man, The Boss" 



Published by 

THE PORTER CHEMICAL COMPANY 

Porter Products Put Science at Your Service 
HAGERSTOWN, MARYLAND 



Copyrighted, 1921, by Dr. Katherine M. H. Blackford. 
All rights reserved, including translation into 
foreign languages, including the Scandinavian. 



Introduction 



3« 



^4 



" CharacterCraft 99 was invented by The Porter Chemical Com- 
pany. This game is the result of our desire to present in practical, 
easily understood and useable form such accurate and authoritative 
scientific information on the great subject of Character Analysis as 
would enable the average adult or young person to " size up " other 
persons and form estimates of their general characteristics. 

In order to make " CharacterCraft 99 entirely practical, as well 
as absolutely accurate and scientific in every respect ; and to base it 
on the most modern and authoritative knowledge obtainable on the 
subject; we secured the personal co-operation, of Dr. Katherine M. H. 
Blackford, M. D., the originator of Character Analysis by the Obser- 
vational Method. " CharacterCraft 99 has, therefore, been prepared 
under the personal and active supervision of this world-famous 
specialist in Character Analysis. 

In her study and research, covering a period of more than twenty 
years, Dr. Blackford has not only learned all she could from others 
about the development of the human race, the history of the various 
races of the earth, human anatomy, physiology, and psychology, but 
she has also made more than twenty thousand detailed records of 
observations upon individuals, has analyzed hundreds of thousands 
of people in various groups, and has pursued her investigation in all 
parts of the United States, in Canada and Mexico, and in twenty 
foreign countries. 

She has so organized and systemized the knowledge thus gained 
that it has been taught to thousands who are now using it suc- 
cessfully in business, industry and professional lines. 

Character Analysis by the Observational Method has obtained such 
wide-spread acceptance as a result of its accuracy, shown daily in 
practical business use, that Dr. Blackford, is being constantly in- 
vited to speak on the subject before conventions of business men, 
trade associations, clubs, societies, universities and colleges. 

Her personal council is sought by thousands of professional and 
business men and women every year, and she has been retained by 
many large industrial and other corporations for council in their 
problems of personnel and employment. 

a p R 2 20j ^|CU615041 



CHARACTERCRAFT 



In " Character Craft/' we present in their 1 easiest and simplest 
^'form, some of Dr. Blackford's fundamental indications of character 
^■in the head and face. Those who use this outfit according to the 
»~ directions given on the following pages, and follow the guide im- 
plicitly, will be making the same observations upon their subjects 
that Dr. Blackford herself would make, if she were studying them, 
and are drawing the same conclusions that Dr. Blackford herself 
would draw. 

While these conclusions necessarily fall short of a complete and 
detailed analysis of the character of the person under observation, 
they are absolutely accurate and reliable as far as they go. A full 
and complete analysis of character would embrace observations upon 
the head and face, and also upon size, body-build, texture, con- 
sistency, the hands, voice, walk, gestures and other forms of expres- 
sion and conditions. 

But in u CharacterCraft " will be found the means of making 
elementary observations, of making accurate character analysis upon 
the face and head, of learning much that will be of interest and value 
to any adult or young person, and of having interesting and amusing 
entertainment at parties, social gatherings and in the home. 

THE PORTER CHEMICAL COM PANT, 

Hagerstown, Maryland. 



The Practical Value of 

CharacterCraft 
to Children and Adults 

" CharacterCraft " is adapted for both play and study and will 
always be found intensely interesting and entertaining. Boys and 
girls can play with it for hours, while grown-ups will find much of 
value and practical interest in the information to be gained from 
this outfit. 

While it is always best to make observations with the subject 
present for comparison, heads and faces can often be built from 
memory. Thus the boy or girl may use " CharacterCraft " when 
alone, as well as with playmates. 

A feature of particular value to children is the opportunity 
afforded by " CharacterCraft 99 for analysis of the heads and faces 
of noted men, building up the subjects from published photographs. 
All the celebrated men of our country; Washington, Lincoln, 
McKinley and others of the present day; evidenced characteristics 
which growing children are urged to study and acquire. With 
" CharacterCraft 99 observations and analysis which prove the pres- 
ence of certain characteristics can be made from photographs and 
pictures. 

Those who join in the fun learn to observe people, to take an 
interest in others, to develop a sense of observation, and to acquire 
a knowledge of people that will be of value to them. Two of the 
most important factors in life — Knowledge of Others and Knowl- 
edge of Self — are found in " CharacterCraft 99 in such an easy and 
fascinating form that even a child can learn much about them. 

" CharacterCraft 99 is also a fascinating means of entertainment at 
parties and social gatherings. Not alone for children, but also 
for young people of all ages. Many ways of finding entertainment 
and amusement will occur to anyone, and humorous analysis can be 
made by a practiced entertainer which will afford much fun for 
all present. While this is done in a spirit of fun and affords a great 
deal of amusement for every one, it has a serious side and is very 
instructive as well. 

4 



How to Play the 
CharacterCraft Game 

From the number of players to take part in the game, two sides of 
equal numbers are chosen. One side is called " THE CHAR- 
ACTER READERS 99 the other side " THE FACE BUILDERS. 
The CHARACTER READERS appoint one of their players CHIEF 
CHARACTER READER who selects a person either from the 
players on his or her side or from those not taking part in the 
game as the SUBJECT to be studied. 

The FACE BUILDERS appoint one of their players MASTER 
FACE BUILDER, who with the aid of his or her players, constructs 
the face of the Subject, both in front view and profile, with CHAR- 
ACTERCRAFT sections. This likeness should be made to Te- 
semble the subject as nearly as possible and there is room for con- 
siderable skill in getting satisfactory results. 

The CHIEF CHARACTER READER with the aid of his 
players, writes on a slip of paper those characteristics which they 
think best fit or best describe the character of the SUBJECT. 
The list of characteristics following will aid the CHIEF CHAR- 
ACTER READER and his partners in this task. 

When the MASTER FACE BUILDER and his partners have 
finished building the face of the SUBJECT and the CHIEF CHAR- 
ACTER READER and his partners have finished their list of char- 
acteristics — -check the results, with the characteristics corresponding 
to the key numbers on the sections used in building the face. These 
characteristics will be found further along in this guide. 

Each characteristic that the CHIEF CHARACTER READER 
and his partners have found which agrees with the corresponding 
characteristic found by the MASTER FACE BUILDER and his 
partners, scores one point for the CHARACTER READERS. 
Keep a record of the total number of points scored. 

In case of dispute as to whether or not the certain characteristics 
found by the CHARACTER READERS agrees with the characteris- 
tics found by the FACE BUILDER the question shall be decided 
by the SUBJECT. 

5 



6 



CHARACTERCRAFT 



The sides are now changed and the CHIEF CHARACTER 
READER is made the MASTER FACE BUILDER and his side 
the FACE BUILDERS, and the MASTER FACE BUILDER is 
made the CHIEF CHARACTER READER and his side the CHAR- 
ACTER READERS. The new CHIEF CHARACTER READER 
selects a SUBJECT from his side or from among those not taking 
part in the game and play is resumed as before. 

This procedure may be gone thru as often as desired. The side 
making the largest total score are the most expert CHARACTER 
READERS and win the game. 



List of Characteristics 



Pra p\~ ipal 

X X CXV. L 1 v< (XX 


TVTatprial Prapfipal Tdpals 


Tin rvraptipal Thporpfipal 

JL XXX k/L CLVs 1/X^clX, JL XXCVyX L<Xl_,CXi 


Splf-Control 

UClX V VI XI L 1 VXX 


SpttH mPTital Sni vitnal 

K3CLX bXXXXCXX L/C1X, KJ JX 1 1 1 L LL (L X 


Tiirlnl crpnt 

x_ xx vx LIX^CXX u 




JO X dXliv 


A Via £}~n 4" 1\ T 1 T» rl Q ("1 TlTOd TV) \T filfYTO' f\T 

XiUbcIlb lVXllxLltJUj UXtidXXXj, DiUW UX 


OtJLXtJLXVt; 


J. XX U IXgXXU 


V^XoU-UXUlXo, _L X Uo LXXXg 


V^UXLX\. VVXllcU., xxlcl Lj V^LXXLXv UX 


>JlroT»'l"i net 1 finsnifflniia 
O JVcJJ IXLdX, O US> JJXOXU 1X3 


JL XJ.U LXgXl b 


(rpntlp Mild Swppt 


i Katq'J'Q TV/lor! i i" ffH vo TJcnciP- 
jlx'oXXIJcX die, XuLcLLXtdl/X Yti, XVoXXcl^- 


V/ X LXCX 


tivp Thonchtfnl 

11 V V> , JL llv Llw lit! LXJL 


Extravagant 


TmiinlQivp Titi riptn m t <s 

X 111 Ll lllol V (J, JLXll^J o u (XVX Llo 


FppmoTYn pal 

1 jbUli V/ 1111 V. (1 1 




OULXdUXti, -C XXtJXXUXj 


Shv 

(Oil J 


Unsociable, Exclusive 


Observant, Perceptive 


Knowledge of Men 


Unobservant 


Genial, Affable 


Discriminating, Critical 


Reserved 


Undiscriminating 


Flattering 


Constructive 


Tactful, Diplomatic 


Destructive 


Affectionate 


Taciturn, Silent 


Unaffectionate 


Garrulous, Verbose, Talkative 


Serious 


Terse 


Humorous 


Quickness of Speech 


Mirthful 


Slowness of Speech 


Cheerful 


High Principled, Ethical 


Melancholy 


Idealistic 


Optimistic, Hopeful 


Love of Truth 


Pessimistic 


Love of Beauty 


Contented 



CHARACTERCRAFT 



7 



Discontented 

Quick Tempered 

Fault Finding 

Tolerant 

Enthusiastic 

Unenthusiastic 

Sensitive 

Non-sensitive 

Eesponsive 

Unresponsive, Indifferent 

Refined 

Vain 

Approbative, Love of Praise, Ap- 
proval and Applause 

Indifference to opinion of 
others, Praise, Approval and 
Applause 

Egotistic, Self-interest 

Vigorous 

Aggressive, Combative 
Mild, Easy going, Unaggressive 
Determined, Firm, Will-power 
Indecisive, Yielding 
Obstinate, Stubborn 
Tractable, Amenable 
Independent, Self-Reliant 



Dependent 
Ambitious, Aspiring 
Energetic 

Lazy, Little Energy 

Active 

Inactive 

Persistent, Perseverant 

Endurant 

Undurant 

Patient 

Impatient, Restless 

Constant, Loyal 

Changeable, Inconstant 

Love of Variety 

Love of Self-Expression 

Love of Pleasure 

Love of Ease 

Love of Freedom 

Love of Comfort and the good 

things of life 
Commercial 

Love of Physical Activity 
Mechanical 

Love of Mental Activity 
Mathematical, Clerical 



How to make 



Character Readings with 




Don't expect to make a picture that will look exactly like your 
subject, rather choose the features that will as nearly as possible 
correspond with the features of your subject as directed in the follow- 
ing paragraph. 

You will find that all the head sections are shown with short hair 
as is usually worn by men so it will be impossible to build an exact 
resemblance of a woman. Nevertheless you can choose any woman's 
features and make just as good a reading as if you could reproduce 
her exact hair arrangement. The hair is shown simply to denote 
the degree of coloring, such as blond, medium and brunette, con- 
sequently the length or arrangement of the hair will in no way effect 
your reading. 

Build the profile first. 

Sit at a table with a clear space in front of you, and the box con- 
taining the sections at your right. Have the subject sit across the 
table from you, in a good light, his head turned so that you can see 
his exact profile. The picture on the cover of the box will show the 
best way. 

BEAD SECTION: Then select from the box the profile head, 
Sections A-l to A-6. You will see that there are six of these sec- 
tions, three long heads and three short heads, and that the hair is in 
three shades — light, indicating blond; medium, indicating brown; 
and brunette, indicating dark or black hair. If you are quite cer- 
tain that your subject's hair is either blond or brunette, you will 
have no trouble in choosing the right color. If you are not quite 
sure, or are sure it is neither, use the medium colored section. Ked 
hair should be classed as blond ; brown, or drab hair as medium, dark 
brown or black hair as brunette ; yellow or golden hair as blond. 

8 



CHARACTERCRAFT 



9 



Then look to see whether the back of your subject's head extends 
away back from the ears and is full and round, or whether it is 
short from the ear back and is rather straight and flat. The picture 
on the different sections will help you decide this. Do not expect to 
find a backhead just like your subject's, but simply decide whether 
your subject has a long backhead or a short one. If you are in doubt, 
select the long one. 

FOREHEAD SECTION: Next take the forehead Sections B-l 
to B-5. Spread these out before you, look at them, one at a time, 
and then look at the slant of your subject's forehead. Do his brows 
stick out and his forehead slant back sharply to the hair line ? Or 
are his brows flat and is his forehead bulging above, near the hair 
line? You may not find a section just like your subject's. There 
are more than five shapes of foreheads among people, but you can 
find one that slants at about the same angle as his. Place this and 
then look carefully at it and at your subject to see how nearly it 
looks like his forehead. 

EYES-AND-NOSE-SECTION: You now come to the eye-and- 
nose sections, C-l to C-24. Study them for three things; first, the 
eye — how far it sticks out or sinks in; second, the bridge of the 
nose — how high or low it is; third, the tip of the nose — how much 
it tips up or dips down, or how horizontal it is. Be sure to select 
a section in which all three are as nearly like the eye and nose of 
your subject as possible. Get the eye right, the bridge of the nose 
right, and the tip of the nose right. 

When you have found the right one, place it, compare it with your 
subject's eye and nose, and then go on with the 

MOUTH AND CHIN SECTIONS: In the mouth section, D-l 
to D-9, you have two things to look out for : First, whether your 
subjects mouth purses out, or protrudes, whether it is straight up 
and down, or whether it sinks in; second, whether his upper lip is 
long, medium or short. If you are not quite sure whether the mouth 
purses out or sinks in, then select one which is plane. If you are not 
quite sure whether his upper lip is long or short, select medium. 

The chin section, E-l to E-5, should be easy to select. The only 
question you have to decide is as to whether the chin is very promi- 
nent, and protruding at the point, whether it is moderately so, 
whether it is half-way between, whether it retreats somewhat, or 
whether it retreats a great deal. 

When you have placed the mouth and chin sections, you have com- 
pleted the profile. Study the completed profile, comparing it with 



10 



CHARACTERCRAFT 



that of your subject, making any changes that need to be made to 
make it look like his. 

When you have done this, refer to the letters and figures on each 
of the sections, and look up in the Guide. You will find there a 
paragraph corresponding to each section. These paragraphs, describe 
the traits of character your subject has as shown by the various 
features. Do not destroy the profile just finished. Keep it intact 
for comparison when you have built the front face. 

HOW TO BUILD THE FRONT FACE: With your subject still 
across the table from you, have him turn his head so that he faces 
you with full front face. 

HEAD SECTION: In selecting the head section of the full front 
face, AA-1 to AA-4 you need pay no attention to color, as you have 
already determined color in building the profile. You need therefore 
to pay attention to only two things: Is your subject's head high or 
low ? Is it wide or narrow ? 

In observing your subject's head for height, the best place to look 
is from the ears up. You will probably have to observe a number 
of different heads before you are quite sure as to whether any head 
belongs in the high or low classification. 

Determining whether the head is wide or narrow is much easier. 
If the sides of the head, immediately above the ears, in front of 
them and back of them, apear to be bulging or rounding, the head is 
unquestionably wide. If, on the other hand, the sides of the head 
appear to be flat or sunken, the head is narrow. 

FACE SECTION: The only thing you need to look for in choos- 
ing the face section, BB-1 to BB-6, is the outline of the jaws. Are 
they square or round, or is the chin pointed? It will help you to 
remember that when the face section is round, it is usually so because 
the cheeks are fat. There are two sections each of the mental, motive 
and vital type — one to fit a wide head, and one to fit a narrow head. 
There is no significance in the difference in width of the face section 
by itself, the only significance being attached to its shape, as to 
whether it is square, pointed or round. 

EYE-AND-NOSE-SECTION : CC-1 to CC-25. You may find 
this the hardest section of all to choose correctly. You have to 
notice whether your subject's nose is wide or narrow, whether the 
wings of the nose are thick or thin, and the expression of the eyes. 

It should be comparatively easy for you to decide whether your 
subject's nose is wide or narrow. 



CHARACTERCRAFT 



11 



The wings of the nose are those parts which bound the nostrils on 
the side. Some wings are thick and fleshy; others are medium in 
thickness, while still others are thin, delicate, and often show their 
delicacy by quivering. 

The different kinds of eyes shown on the eye-and-nose sections 
are distinguished chiefly by the position of the eyelid. 

The shrewd eye is partly closed, but does not look sleepy or 
dreamy. On the other hand, it looks sharp and keen and shows tiny 
wrinkles at the outer corner. 

The wide-open eye is just that — wide open. The lids are rolled 
back both above and below so that they hardly show. 

In the humorous eye there are fine wrinkles underneath, and the 
lower lid has an appearance of being pushed up a little. The eye 
appears merry or, as we say, twinkles. 

The medium eye is not as much closed as the shrewd eye or the 
humorous eye, nor is it as wide open as the wide-open eye. It is 
moderately well opened and has a calm, poised expression. 

The sentimental eye is partly closed, but the upper lid looks as if 
it were drooping rather than as if it were pushed down, so that the 
eye has a dreamy look. 

MOUTH SECTION: DIM to DD-12. In selecting a mouth 
section for your subject, you need only notice whether his mouth is 
large or small, whether the lips are full and large, or thin, and 
whether the corners of the mouth turn up, are straight, or turn down. 

In a large mouth, of course, the lips extend widely across the face, 
whereas in a small mouth the opening is narrow. 

Full lips show a good deal of red, while thin lips show very little 
red and appear, when the mouth is fully closed, tightly compressed. 

The pictures of the mouth sections themselves will help you to 
find whether your subject's mouth has corners that turn up, are 
straight, or turn down. 

HOW TO READ CHARACTER FROM THE PICTURE: In 
the lettered and numbered paragraphs which follow, you will find 
described the traits of character which go with each of the ninety-six 
different kinds of features shown by the sections in the box. 

When you have built both the profile and full face pictures of your 
subject, therefore, you can easily refer to the Guide by means of the 
letter or letters and number on each section, and read a description 
of your subject's traits of character. 

In doing this, be careful not to judge your subject by any one of 
the traits described alone. Take them all together, and judge by the 



12 



CHARACTERCRAFT 



combination. For example, blond color means energy; section A-l. 
So does an extreme convex nose; Section C-l. So does a wide head ; 
Section A A-l. Now if your subject has blond color, extreme convex 
nose and a wide head, he is very energetic; but if he has brunette 
color, with extreme convex nose and wide head, he is not quite so 
energetic. Or if he has blond color, concave nose and a wide head, 
he is not quite so positive in his expression of energy. If he has 
blond color, extreme convex nose and a narrow head, he is not quite 
so energetic. In the same way, traits indicated by one feature will 
tell you how traits indicated by another feature will show them- 
selves; for example, suppose your subject has blond color, extreme 
convex nose and wide head ; suppose, also, he has an extreme concave 
chin — see Section B-7. Then he will show his great energy de- 
liberately, determinedly. He also has a short upper lip, so he will 
use some of his great energy to win approval and applause. Sup- 
pose, also, he has a mental face section — see Section BB-1 — then he 
will use much of his great energy doing mental work. When you 
have read your subject's character from the Guide, compare it with 
what you know about him, what others can tell you about him, what 
he tells you about himself. This will help you to verify your judg- 
ment, also to read others more accurately. 



SECTION A-l. 



SECTION A-2. 



SECTION A-3. 



Profile — Top Head 

Long head — Blond. 

A long head indicates a liking for people, a 
social nature, pleasure in associating with, 
dealing with, and handling people. 
Blond color indicates love of variety, change- 
ableness, lots of energy, restlessness, optimism. 
Long head — medium color. 
A long head indicates a liking for people, a 
social nature, pleasure in associating with, 
dealing with, and handling people. 
Medium color indicates moderate love of va- 
riety, moderate energy, moderate constancy, 
moderate optimism. 
Long head — Brunette. 

A long head indicates a liking for people, a 
social nature, pleasure in associating with, 
dealing with, and handling people. 
Brunette color indicates constancy, little en- 
ergy, patience, seriousness. 



CHARACTERCRAFT 



13 



SECTION A-4. Short head— Blond color. 

A short head indicates more or less indifference 
to people as individuals, some difficulty in mak- 
ing acquaintances and friends, little interest 
in social life, in meeting, dealing with and 
handling people. May he shy. Blond color 
indicates love of variety, changeableness, lots 
of energy, restlessness, optimism. 

SECTION AS. Short head— medium color. 

A short head indicates more or less indifference 
to people as individuals, some difficulty in mak- 
ing acquaintances and friends, little interest in 
social life, in meeting, dealing with and hand- 
ling people. May be shy. Medium color in- 
dicates moderate love of variety, moderate en- 
ergy, moderate constancy, moderate optimism. 

SECTION AS. Short head— Brunette color. 

A short head indicates more or less indifference 
to people as individuals, some difficulty in mak- 
ing acquaintances and friends, little interest 
in social life, in meeting, dealing with and 
handling people. May be shy. Brunette color 
indicates constancy, little energy, patience, 
seriousness. 



SECTION B-l. 

SECTION B-2. 
SECTION, BS. 

SECTION B-4. 

SECTION BS. 



Profile — Forehead Section 

Extreme convex forehead. 
Extreme convex forehead indicates keen powers 
of observation and quick thought. May be 
very practical. 
Convex forehead. 

Convex forehead indicates good powers of ob- 
servation and quick thought. 
Plane forehead. 

Plane forehead indicates moderate observation, 
moderately quick thought and fairly well-de- 
veloped powers of meditation. 
Concave forehead. 

Concave forehead indicates slow observation, 
rather slow processes of thought, with con- 
siderable tendency to meditation and reflection. 
Extreme concave forehead. 
Extreme concave forehead indicates deficiency 
in powers of observation, absent-mindedness, 
slowness and deliberation of thought, and great 
tendency to reflection and meditation. May 
be a dreamer. 



14 



CHARACTERCRAFT 



Profile — Eye-and-Nose Section 



SECTION C-l. 



SECTION C-2. 



SECTION C-3. 



SECTION C-Jh 



SECTION C-5, 



SECTION C-6. 



SECTION C-l. 



SECTION C-8. 



SECTION C-9. 



Convex nose — plane tip — convex eyes. 

Convex nose indicates energy. 

Plane tip indicates a fair amount of optimism. 

Convex eyes indicate good memory for words, 

fluency of speech. Likes to talk. 

Convex nose — plane tip — plane eyes. 

Convex nose indicates energy. 

Plane tip indicates a fair amount of optimism. 

Plane eyes indicate moderate fluency of speech. 

Convex nose — plane tip — concave eyes. 

Convex nose indicates energy. 

Plane tip indicates a fair 'amount of optimism. 

Concave eyes indicate rather deficient memory 

for words, therefore a tendency to express ideas 

in as few words as possible. May be taciturn 

or not very talkative. 

Convex nose — depressed tip — convex eye. 

Convex nose indicates energy. 

Depressed tip of nose indicates though tfulness 

and tendency to pessimism. 

Convex eyes indicate good memory for words, 

fluency of speech. Likes to talk. 

Convex nose — depressed tip — plane eyes. 

Convex nose indicates energy. 

Depressed tip of nose indicates thoughtfulness 

and tendency to pessimism. 

Plane eyes indicate moderate fluency of speech. 

Convex nose — depressed tip — concave eyes. 

Convex nose indicates energy. 

Depressed tip of nose indicates thoughtfulness 

and tendency to pessimism. 

Concave eyes indicate rather deficient memory 

for words, therefore a tendency to express ideas 

in as few words as possible. May be taciturn 

or not very talkative. 

Convex nose — turned up tip — convex eyes. 

Convex nose indicates energy. 

Turned up tip indicates optimism, hopefulness. 

Convex eyes indicate good memory for words, 

fluency of speech. Likes to talk 

Convex nose — turned up tip — plane eyes. 

Convex nose indicates energy. 

Turned up tip indicates optimism, hopefulness. 

Plane eyes indicate moderate fluency of speech. 

Convex nose — turned up tip — concave eyes. 

Convex nose indicates energy. 



CHARACTERCRAFT 



15 



SECTION C-9. 



SECTION C-10. 



SECTION C-ll. 



SECTION C-12. 



SECTION C-1S. 



SECTION C-U. 



SECTION C-15. 



SECTION C-16. 



SECTION C-ll. 



Turned up tip indicates optimism, hopefulness. 
Concave eyes indicate rather deficient memory 
for words, therefore a tendency to express ideas 
in as few words as possible. May be taciturn 
or not very talkative. 
Plane nose — turned up tip — convex eyes. 
Plane nose indicates moderate energy. 
Turned up tip indicates optimism, hopefulness. 
Convex eyes indicate good memory for words, 
fluency of speech. Likes to talk. 
Plane nose — turned up tip — plane eyes. 
Plane nose indicates moderate energy. 
Turned up tip indicates optimism, hopefulness. 
Plane eyes indicate fluency of speech. 
Plane nose — turned up tip — concave eyes. 
Plane nose indicates moderate energy. 
Turned up tip indicates optimism, hopefulness. 
Concave eyes indicate rather deficient memory 
for words, therefore a tendency to express ideas 
in as few words as possible. May be taciturn or 
not very talkative. 

Plane nose — plane tip — convex eyes. 
Plane nose indicates moderate energy. 
Plane tip indicates a fair amount of optimism. 
Convex eyes indicate good memory for words, 
fluency of speech. Likes to talk. 
Plane nose — plane tip — plane eyes. 
Plane nose indicates moderate energy. 
Plane tip indicates a fair amount of optimism. 
Plane eyes indicate moderate fluency of speech. 
Plane nose — plane tip — concave eyes. 
Plane nose indicates moderate energy. 
Plane tip indicates a fair amount of optimism. 
Concave eyes indicate rather deficient memory 
for words, therefore a tendency to express ideas 
in as few words as possible. May be taciturn or 
not very talkative. 

Plane nose — depressed tip — convex eyes. 
Plane nose indicates moderate energy. 
Depressed tip indicates thoughtfulness and 
tendency to pessimism. 

Convex eyes indicate good memory for words, 
fluency of speech. Likes to talk. 
Plane nose — depressed tip — plane eyes. 
Plane nose indicates moderate energy. 
Depressed tip indicates thoughtfulness and 
tendency to pessimism. 

Plane eyes indicate moderate fluency of speech. 



16 



CHARACTERCRAFT 



SECTION 0-18. 



SECTION C-19. 



SECTION 0-20. 



SECTION C-21. 



SECTION C-i 



SECTION C-23. 



SECTION C-2J+. 



Plane nose — depressed tip — concave eyes. 
Plane nose indicates moderate energy. 
Depressed tip indicates thoughtfulness and 
tendency to pessimism. 

Concave eyes indicate rather deficient memory 
for words, therefore a tendency to express ideas 
in as few words as possible. May be taciturn or 
not very talkative. 

Concave nose — turned up tip — convex eyes. 
Concave nose indicates love of ease, little en- 

Turned up tip indicates optimism, hopefulness. 
Convex eyes indicate good memory for words, 
fluency of speech. Likes to talk. 
Concave nose — turned up tip — plane eyes. 
Concave nose indicates love of ease, little en- 
ergy. 

Turned up tip indicates optimism, hopefulness. 
Plane eyes indicate moderate memory for 
words. 

Concave nose — turned up tip — concave eyes. 
Concave nose indicates love of ease, little en- 
ergy. 

Turned up tip indicates optimism, hopefulness. 
Concave eyes indicate rather deficient memory 
for words, therefore a tendency to express ideas 
in as few words as possible. May be taciturn 
or not very talkative. 
Concave nose — plane tip — convex eyes. 
Concave nose indicates love of ease, little en- 
ergy. 

Plane tip indicates a fair amount of optimism. 
Convex eyes indicate good memory for words, 
fluency of speech. Likes to talk. 
Concave nose — plan tip — plane eyes. 
Concave nose indicates love of ease, little 
energy. 

Plane tip indicates a fair amount of optimism. 
Plane eyes indicate moderate fluency of speech. 
Concave nose — plane tip — concave eyes. 
Concave nose indicates love of ease, little en- 
ergy. 

Plane tip indicates a fair amount of optimism. 
Concave eyes indicate rather deficient memory 
for words, therefore a tendency to express ideas 
in as few words as possible. May be taciturn 
or not very talkative. 



CHARACTERCRAFT 



17 



Profile — Mouth Section 



SECTION D-l. 



SECTION D-2. 



SECTION D-S. 



SECTION D-4. 



SECTION D-5. 



SECTION D-6. 



SECTION D-7. 



SECTION D-S. 



Convex mouth — short upper lip. 
Convex mouth indicates quickness and frank- 
ness in speech. 

A short upper lip indicates desire to please 
people and love of approval. 
Convex mouth — medium upper lip. 
Convex mouth indicates quickness and frank- 
ness in speech. 

Medium upper lip indicates moderate desire to 
please people, moderate love of approval, mod- 
erate self-reliance, and persistence. 
Convex mouth — long upper lip. 
Convex mouth indicates quickness and frank- 
ness in speech. 

Long upper lip indicates some indifference to 
the opinion of others and to approval, con- 
siderable degree of self-reliance and per- 
sistence. May be stubborn. 
Plane mouth — short upper lip. 
Plane mouth indicates moderate quickness and 
frankness of speech. 

Short upper lip indicates desire to please 

people and love of approval. 

Plane mouth — medium upper lip. 

Plane mouth indicates moderate quickness and 

frankness of speech. 

Medium upper lip indicates moderate desire to 
please people, moderate love of approval, mod- 
erate self-reliance, and persistence. 
Plane mouth — long upper lip. 
Plane mouth indicates moderate quickness and 
frankness of speech. 

Long upper lip indicates some indifference to 
the opinion of others and to approval, con- 
siderable degree of self-reliance and persist- 
ence. May be stubborn. 
Concave mouth — short upper lip. 
Concave mouth indicates mildness, sweetness, 
gentleness, and slowness of speech. May be a 
flatterer. 

Short upper lip indicates desire to please people 
and love of approval. 
Concave mouth — medium upper lip. 
Concave mouth indicates mildness, sweetness, 
gentleness, and slowness of speech. May be 
a flatterer. 



IS 



CHARACTERCRAFT 



SECTION D-8. Medium upper lip indicates moderate desire 
to please people, moderate love of approval, 
moderate self-reliance, and persistence. 

SECTION D-9. Concave mouth — long upper lip. 

Concave mouth indicates mildness, sweetness, 
gentleness and slowness of speech. May be a 
flatterer. 

Long upper lip indicates some indifference to 
the opinion of others and to approval, consider- 
able degree of self-reliance and persistence. 
May be stubborn. 



Profile — Chin Section 



SECTION E-l. 



SECTION E-2. 



SECTION E-3. 



SECTION E-h. 



SECTION E-5. 



Extreme convex chin. 

Extreme convex chin indicates great quickness 
and impulsiveness in action, impatience, slight 
endurance. 
Convex chin. 

Convex chin indicates quickness and impul- 
siveness in action, some impatience, small en- 
durance. 
Plane chin. 

Plane chin indicates moderate quickness and 
impulsiveness in action, moderate patience, 
moderate endurance. 
Concave chin. 

Concave chin indicates deliberation and de- 
termination in action, patience, good degree of 
endurance. 

Extreme concave chin. 

Extreme concave chin indicates great delibera- 
tion and determination in action, much pa- 
tience, strong endurance. 



Full Face — Top Head Section 



SECTION AA-1. 



SECTION AA 



Wide head — high head. 

Wide head indicates great energy in overcom- 
ing obstacles and opposition, destructiveness. 
May have hot temper. 

High head indicates ambition, aspiration, and 

high ideals. 

Wide head — low head. 

Wide head indicates positive energy in over- 
coming obstacles and opposition, destructive- 
ness. May have hot temper. 
Low head indicates desire for material success, 
and practical ideals. 



CHARACTERCRAFT 



19 



SECTION AA-S. Narrow head— high head. 

Narrow head indicates mildness, gentleness, 

tactfulness, diplomacy. May be easy-going. 

High head indicates ambition, aspiration and 

high ideals. 
SECTION AA-k. Narrow head— low head. 

Narrow head indicates mildness, gentleness, 

tactfulness, diplomacy. May be easy-going. 

Low head indicates desire for material success, 

and practical ideals. 



Full Face— Outline Face Section 



SECTION BB-1, 
SECTION BB-2, 



SECTION BBS. 

SECTION BB-k. 
SECTION BB-5. 



SECTION BB-6. 



Mental — narrow. 

Mental face section indicates love of mental 
activity and a preference for mental work. 
Motive — narrow. 

Motive face section indicates love of physical 
activity and motion, and preference for work 
in connection with, construction, manufactur- 
ing, mechanics, transportation, agriculture or 
mining, love of freedom. 
Vital — narrow. 

Vital face section indicates love of good things 
of life, a preference for executive, financial, 
merchandising, or similar activities. May be 
a hearty eater and probably fat. 
Mental — wide. 

Mental face section indicates love of mental 
activity and a preference for mental work. 
Motive — wide. 

Motive face section indicates love of physical 
activity and motion, and preference for work 
in connection with construction, manufactur- 
ing, mechanics, transportation, agriculture or 
mining, love of freedom. 
Vital — wide. 

Vital face section indicates love of good things 
of life, a preference for executive, financial, 
merchandising, or similar activities. May be 
a hearty eater and probably fat. 



Full Face— Eye and Nose Section 

SECTION CC-1. Wide nose — thick wings — shrewd eye. 
"Wide nose indicates vigor. 
Thick wings indicate love of pleasure. 
Shrewd eyes indicates shrewdness, keen per- 
ception, incredulity. 



20 



CHARACTERCRAFT 



SECTION CC-2. 



SECTION CCS. 



SECTION CC-4. 



SECTION CCS. 



SECTION CCS. 



SECTION CC-7. 



SECTION CCS. 



SECTION CCS. 



SECTION CC-10. 



Wide nose — thick wings — wide open eye. 

Wide nose indicates vigor. 

Thick wings indicate love of pleasure. 

Wide open eye indicates wonder, credulity and 

trustfulness. 

Wide nose — thick wings — humorous eye. 
Wide nose indicates vigor. 
Thick wings love of pleasure. 
Humorous eye indicates mirthfulness, sense of 
humor, love of merriment. May be a joker. 
Wide nose — thick wings — medium eye. 
Wide nose indicates vigor. 
Thick wings indicate love of pleasure. 
Medium eye indicates moderate shrewdness, 
moderate sense of humor, calmness, poise. 
Wide nose — thick wings — sentimental eye. 
Wide nose indicates vigor. 
Thick wings indicate love of pleasure. 
Sentimental eye indicates sentiment, affection, 
love of romance. May be a coquette. 
Wide nose — thin wings — shrewd eye. 
Wide nose indicates vigor. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 

Shrewd eye indicates shrewdness, keen percep- 
tion, incredulity. 

Wide nose — thin wings — wide open eye. 
Wide nose indicates vigor. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 

Wide open eye indicates wonder, credulity, 
trustfulness. 

Wide nose — thin wings — humorous eye. 
Wide nose indicates vigor. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 

Humorous eye indicates mirthfulness, sense of 
humor love of merriment. May be a joker. 
Wide nose — thin wings — medium eye. 
Wide nose indicates vigor. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 

Medium eyes indicate moderate shrewdness, 
moderate sense of humor, calmness, poise. 
Wide nose — thin wings — sentimental eye. 
Wide nose indicates vigor. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 



CHARACTERCRAFT 



21 



SECTION CC-10. Sentimental eye indicates sentiment, affection, 
love of romance. May be a coquette. 

SECTION CC-11. Medium nose — thick wings — shrewd eye. 

Medium nose indicates moderate vigor. 
Thick wings indicate love of pleasure. 
Shrewd eye indicates shrewdness, keen percep- 
tion, incredulity. 

SECTION CC-T2. Medium nose — thick wings — wide open eye. 

Medium nose indicates moderate vigor. 
Thick wings indicate love of pleasure. 
Wide open eye indicates wonder, credulity, 
trustfulness. 

SECTION CC-13. Medium nose — thick wings — humorous eye. 

Medium nose indicates moderate vigor. 
Thick wings indicate love of pleasure. 
Humorous eye indicates mirthfulness, sense of 
humor, love of merriment. May be a joker. 

SECTION CC-14- Medium nose — thick wings — medium eye. 

Medium nose indicates moderate vigor. 
Thick wings indicate love of pleasure. 
Medium open eyes indicate moderate shrewd- 
ness, moderate sense of humor, calmness, poise. 

SECTION CC-15. Medium nose — thick wings — sentimental eye. 

Medium nose indicates moderate vigor. 
Thick wings indicate love of pleasure. 
Sentimental eye indicates sentiment, affection, 
love of romance. May be a coquette. 

SECTION CC-16. Medium nose — thin wings — shrewd eye. 

Medium nose indicates moderate vigor. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 

Shrewd eye indicates shrewdness, keen percep- 
tion, incredulity. 
SECTION CC-11. Medium nose — thin wings — wide open eye. 

Medium nose indicates moderate vigor. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 

Wide open eye indicates wonder, credulity, 
trustfulness. 

SECTION CC-18. Medium nose — thin wings — humorous eye. 

Medium nose indicates moderate vigor. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 

Humorous eye indicates mirthfulness, sense of 
humor, love of merriment. May be a joker. 



22 



CHARACTERCRAFT 



SECTION CC-19. Medium nose — thin wings — medium eye. 

Medium nose indicates moderate vigor. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 

Medium open eyes indicate moderate shrewd- 
ness, moderate sense of humor, calmness, poise. 
SECTION CC-20. Medium nose — thin wings — sentimental eye. 

Medium nose indicates moderate vigor. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 

Sentimental eye indicates sentiment, affection, 
love of romance. May be a coquette. 
SECTION CC-21. Narrow nose — thin wings — shrewd eye. 

Narrow nose indicates natural refinement, love 
of beauty, and keen discrimination. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 

Shrewd eye indicates shrewdness, keen percep- 
tion, incredulity. 
SECTION CC-22. Narrow nose — thin wings — wide open eye. 

Narrow nose indicates natural refinement, love 
of beauty, and keen discrimination. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 

Wide open eye indicates wonder, credulity, 
trustfulness. 

SECTION CC-23. Narrow nose — thin wings — humorous eye. 

Narrow nose indicates natural refinement, love 
of beauty, keen discrimination. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 

Humorous eye indicates mirthfulness, sense of 
humor, love of merriment. May be a joker. 
SECTION CC-24. Narrow nose — thin wings — medium eye. 

Narrow nose indicates natural refinement, love 
of beauty, keen discrimination. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 

Medium open eyes indicate moderate shrewd- 
ness, moderate sense of humor, calmness, poise. 
SECTION CC-25. Narrow nose — thin wings — sentimental eye. 

Narrow nose indicates natural refinement, love 
of beauty, keen discrimination. 
Thin wings indicate spirit, sensitiveness, re- 
sponsiveness. 

Sentimental eye indicates sentiment, affection, 
love of romance. May be a coquette. 



CHARACTERCRAFT 



23 



Full Face Mouth Section 



SECTION DD-1. 



SECTION DD-2. 



SECTION DD- 



SECTION DD-Jf. 



SECTION DD- 



SECTION DD-6. 



SECTION DD-7. 



Large mouth — thin lips — corners up. 

Large mouth indicates love of self-expression, 

tolerance. 

Thin lips indicate moderate appetites and pas- 
sions and strict self-control, also economy. 
Corners up indicate cheerful disposition. 
Large mouth — thin lips — corners straight. 
Large mouth indicates love of self -expression, 
tolerance. 

Thin lips indicate moderate appetites and pas- 
sions and strict self-control, also economy. 
Corners straight indicate moderately cheerful 
disposition, well poised. 
Large mouth — thin lips — corners down. 
Large mouth indicates love of self-expression, 
tolerance. 

Thin lips indicate moderate appetites and pas- 
sions and strict self-control, also economy. 
Mouth with corners down indicates discon- 
tented, disappointed or serious disposition, per- 
haps a tendency to fault-finding. 
Large mouth — full lips — corners up. 
Large mouth indicates love of self-expression, 
tolerance. 

Full lips indicate strong appetites and pas- 
sions, love of pleasure. 
Corners up indicate cheerful disposition. 
Large mouth — full lips — corners straight. 
Large mouth indicates love of self-expression, 
tolerance. 

Full lips indicate strong appetites and pas- 
sions, love of pleasure. 

Corners straight indicate moderately cheerful 

disposition, well poised. 

Large mouth — full lips — corners down. 

Large mouth indicates love of self-expression, 

tolerance. 

Full lips indicate strong appetites and pas- 
sions, love of pleasure. 

Corners down indicate discontented, disap- 
pointed or serious disposition, perhaps a ten- 
dency to fault-finding. 
Small mouth — thin lips — corners up. 
Small mouth indicates self-interest. 
Thin lips indicate moderate appetites and pas- 
sions and strict self-control, also economy. 
Corners up indicate cheerful disposition. 



24 



CHARACTERCRAFT 



SECTION DD-8. Small mouth— thin lips— corners straight. 

Small mouth indicates self-interest. 
Thin lips indicate moderate appetites and pas- 
sions and strict self-control, also economy. 
Corners straight indicate moderately cheerful 
disposition, well poised. 

SECTION DD-9. Small mouth— thin lips— corners down. 

Small mouth indicates self-interest. 
Thin lips indicate moderate appetites and pas- 
sions and strict self-control, also economy. 
Corners down indicate discontented, disap- 
pointed, or serious disposition, perhaps a ten- 
dency to fault-finding. 

SECTION DD-10. Small mouth— full lips— corners up. 

Small mouth indicates self-interest. 
Full lips indicate strong appetites and pas- 
sions, love of pleasure. 
Corners up indicate cheerful disposition. 

SECTION DD-11. Small mouth— full lips— corners straight. 

Small mouth indicates self-interest. 
Full lips indicate strong appetites and pas- 
sions, love of pleasure. 

Corners straight indicate moderately cheerful 
disposition, well poised. 
SECTION DD-12. Small mouth— full lips— corners down. 

Small mouth indicates self-interest. 
Full lips indicate strong appetites and pas- 
sions, love of pleasure. 

Corners down indicate discontented, disap- 
pointed, or serious disposition, perhaps a ten- 
dency to fault-finding. 



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